For anyone who has given up on country music, Dale Watson is the relief you’ve been waiting for.

On a recent episode of Austin City Limits, Watson listed Johnny Cash, Elvis, Ray Price and Merle Haggard as his influences, and to anyone with at least one good ear you can tell he means it. The rockabilly/Bakersfield styles of yore are alive and well on “El Rancho Azul”, yet there is enough of Watson’s DNA in the mix to keep things fresh.

There are no hidden meanings to songs such as “I Lie When I Drink” and “Give Me More Kisses,” but what sounds like straight-up honky tonk fare are actually well crafted, witty ditties. Watson’s backing band is arguably one of the best to come along since the late 1980s Ricky Skaggs’ band, and Watson himself has more charisma than a pickup truck full of Blake Sheltons and Luke Bryans.

For all of the genuine old school country flavorings in Watson’s music, the “El Rancho Azul” track “Daughter’s Wedding Day” could even be a hit on what passes for mainstream country radio. “Daughter’s Wedding Day” tugs on the ol’ heartstrings like a Doberman on a mailman, but Watson’s earnest delivery elevates the song above average daddy/daughter fodder.

The driving “I Can’t Be Satisfied” has the stink of Waylon Jennings on it, right down to the thick Telecaster guitar lines. In “Smokey Old Bar,” Watson declares he’s “just a dude on a stool,” but don’t fooled: Behind the Elvis haircut and the sparkly suits, Watson is a gifted songwriter and performer without once ounce of pretense. Watson deserves wider acclaim, but if he doesn’t get it there is zero chance of him changing his ways - thank goodness.

Classic album: Innervisions

Artist: Stevie Wonder

Label: Tamla/Motown

Rating: 5 stars out of 5

By the time “Innervisions” was released in 1973, Stevie Wonder had graduated from child prodigy to full-fledged musical genius.

The soaring, uplifting melodies that established Wonder as a star in the 1960s were still present on “Innervisions,” but along with the catchy choruses came lyrics that went beyond the standard boy-meets-girl scenarios.

On “Living For The City,” the same guy who once sang “Uptight/Everything is alright” painted a bleak picture of life in the city. That Wonder was able to turn economic and political issues into a pop hit was an inspired experiment. Musically, Wonder’s foray into the ever-widening arsenal of synthesizer technology gave him a unique sound that still sounds fresh 41 years later.

The other big hit from “Innervisions” - “Higher Ground” - was about as funky as radio could legally allow in 1973. Whether he was singing about spiritual rejuvenation or personal betterment isn’t obvious, but then again everybody loves a good mystery. Although the Red Hot Chili Peppers recorded a pretty good cover of “Higher Ground” in the 1980s, no one has yet to upstage the truly inspired original.

“Innervisions” was released at a time when entire albums were meant to be taken as a whole, and deeper album cuts “Don’t You Worry ‘Bout A Thing,” “Too High,” and “All In Love Is Fair” are of the same caliber as the radio singles. “Don’t You Worry...” has a breezy island quality about it, while “All In Love Is Fair” no doubt inspired Lionel Ritchie’s ballad writing. “Visions” isn’t exactly radio friendly, but it’s darker tones and ominous guitar work aren’t incredibly out of step with 1970s Pink Floyd.

Stevie Wonder was hitting the sweet spot in the early 1970s, and if “Innervisions” isn’t his masterpiece it’s a close runner-up.

Jon Dawson’s album reviews appear every Tuesday in The Free Press. Contact Jon at 252-559-1092 or jon.dawson@kinston.com. Purchase Jon’s new book “Counterfeit Sauerkraut & The Weekend Teeth” at The Free Press office and jondawson.com.